It also felt great to give myself enough time to fully digest the show, watch the runway around 200 times (my wife can attest to the accuracy of this statement), and think about all the different angles I could explore that hadn’t already been discussed. Considering that everyone and their mother is talking about fashion on the internet these days, I’ve been struggling to find content that isn’t simply a copy of a copy of something someone else has already said. And, of course, I don’t want to become another person repeating the same conversations over and over again.

So, without further ado, let’s dive into the Chanel Haute Couture 2026 show.

One thing that really bothers me about most reviews of this collection is that everyone decided to read it literally, including specialist fashion platforms. And if there’s one thing I know about this new generation of designers (thank God, btw) like Matthieu Blazy and my personal idol Jonathan Anderson, it’s that you should never read their collections literally. Their shows are full of hidden symbols and carefully constructed narratives designed to make us think about the meaning of fashion and luxury in our society. That’s what I love most about them, besides, obviously, their incredible designs.

With this Chanel show, it was no different. Everyone seems to think it was about fairy tales. Well, I’m sorry to break it to you: It wasn’t. It was about how life, much like luxury itself, is far closer to a fable than to a fairy tale. Because fables, unlike fairy tales, don’t exist to promise happy endings, they exist to leave us with a lesson. They are stories about mistakes, resilience, difficult choices and transformation. And honestly, isn’t that exactly what luxury, and life itself, look like today? Especially in a world facing constant economic uncertainty, political instability and social change.

Now, does that mean the Chanel woman won’t face all of this with grace and style? Definitely not! But does it also mean that sometimes she’ll be more like the Scarecrow trying to scare away all the crows in her life than a princess waiting for Prince Charming? One hundred percent!

Because when we think about fairy tales, we usually picture a princess trapped in a castle waiting for her prince to save her. Matthieu Blazy seems to know, and wants to reminds us, that no one is coming to save her except herself. That’s clear when we see that the bride is no longer the closing look of the show, breaking one of Haute Couture’s oldest traditions. Instead, the collection closes with something that reminded me of Princess Diana’s famous Revenge Dress:

Princess Diana, who became one of fashion’s greatest style icons herself, and even inspired Dior’s Lady Dior bag, also didn’t have a fairy tale ending - actually it was very far from that. But she became powerful and a cultural symbol not because someone saved her, but because she reclaimed her own narrative up until the end.

That is exactly the woman this new Chanel is designed for: a real woman who understands that the only happy ending she can truly guarantee for herself is building a life that brings her joy while learning from her mistakes along the way, just like every great fable teaches us.

And that, my dear readers, is what this Chanel show was really about: Fables, not fairy tales. Lessons, not happy endings. Real life, not fantasy.

If you grew up in the 90s like I did, you’ll probably remember some of the stories that inspired the collection, especially Jack and the Beanstalk and The Ugly Duckling.

These are some of the strongest visual references throughout the collection. They appear not only in the breathtaking set design but also in the clothes, the embroidery, the buttons, the bags and the shoes. Even more interestingly, the opening look features Coco Chanel’s own copy of a book of fables from her personal library.

The Jack-and-the-Beanstalk-coded animation Chanel posted before the show is so cute btw:

Back to the fables, Jack and the Beanstalk isn’t really a story about magic. It’s about having the courage to climb into the unknown. Jack doesn’t know what’s waiting for him at the top of the beanstalk, but he climbs anyway. He takes risks, faces giants, makes difficult decisions and eventually comes back transformed. Growth only happens because he was willing to leave the ground behind.

The Ugly Duckling, for instance, is not about becoming what society thinks is beautiful, it’s about spending your whole life believing you don’t belong, only to discover that what made you different was never a flaw, it was your identity all along. Recognition only comes after a long journey of rejection, loneliness and self-discovery. Seems familiar?

What’s common about them is that neither of these stories is about perfection. They’re about courage, identity and personal growth. They’re about the uncomfortable and usually hard paths real life throws at us and that we all have to take in order to become who we really want to be.

Much like Gabrielle Chanel herself. She endured a difficult childhood, grew up in an orphanage and built her own future completely against the odds before becoming one of history’s greatest businesswomen. No wonder she collected books of fables instead of fairy tales.

And then, if you look closely, there are two other narratives woven into the collection: Alice’s Adventures in Wonderland and The Wizard of Oz. I think choosing these stories was incredibly clever because people often place them alongside classic fairy tales, even though neither of them is actually about the fantasy of being rescued.

The scenario, for me, was a mix of Jack and the Beanstalk with Alice in Wonderland.

Talking about Alice, she doesn’t find a prince at the end of her story. She falls, cries, gets lost, questions everything she thought she knew, meets impossible creatures, survives absurd situations and slowly discovers herself through confusion. Wonderland is chaotic because growing up, like life itself, is chaotic.

The same happens in The Wizard of Oz. Dorothy, the Scarecrow, the Tin Man and the Cowardly Lion don’t simply travel to reach the Emerald City. They travel to understand themselves. They discover that intelligence, courage, sensitivity and humanity were never gifts waiting at the end of the road. They had been carrying them all along.

And I don’t think it’s a coincidence that the Scarecrow became one of the strongest visual references in the collection. One of my favorite moments of the show comes when fantasy starts becoming reality. The silhouettes become less theatrical, the clothes become more wearable, and suddenly the Scarecrow almost appears literally in front of us.

To me, that transition says everything about the concept behind the collection. At the beginning we’re still inside the world of stories, fantasy and imagination. But little by little those references stop looking like costumes and start looking like real clothes for real women living real lives.

Because, just like I said before, life always reminds us that we are not princesses waiting to be rescued, in fact we’re much more like Scarecrows, protecting what matters, scaring away the crows that keep trying to steal our peace and simply carrying on.

For me, there is something incredibly beautiful and incredibly realistic about Chanel choosing these stories at this particular moment to showcase this collection. And that’s because Haute Couture has always been associated with fantasy, dreams and impossibility. But this collection reminds us that the fantasy world we once believed in no longer exists

Fashion, especially luxury, is going through one of its biggest crises in decades. Commercial pressure has become stronger than ever. Houses are expected to produce endless growth, endless novelty and endless desirability in an economic scenario that increasingly resembles periods of uncertainty that, historically, only happened during major wars.

At the same time, we’re all trying to navigate a world transformed by artificial intelligence, political instability, climate anxiety and technologies that evolve faster than our ability to understand them. Every day feels like we’re trying to make sense of a reality that changes before we even have time to process it.

In a way, we’re all Dorothy, we’re all Alice, we’re all Jack climbing a beanstalk without knowing what’s waiting at the top. We’re all Ugly Ducklings wondering whether we’ll ever find where we belong. And sometimes, we’re simply Scarecrows trying to keep the crows away long enough to protect the life we’ve built. But never, ever, ever princesses waiting to be rescued.

So thank you, Chanel, and thank you, Matthieu Blazy, for reminding us that sometimes the bravest thing we can do is put on our own revenge dresses, embrace our inner Scarecrow, scare away the crows and keep on living. Because in the end, no one is coming to save us but ourselves.

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It is about understanding that every work of art, every human creation, has a personality. And that can only be achieved by the creative brains and hands of human beings. It’s the observation of nature and the artist’s own personal experiences that make her art the creative wonder it is.

J.A. comments on Lynda’s work: “spontaneous joy, visceral, muscular”; “she is not scared of an idea.” And most importantly: “it’s not about trends.”

The screen is then filled with bold forms, bold colors, and unseen shapes that don’t translate literally into anything that exists in our world but, instead, carry every emotion we can ever think of.

Maybe that’s what couture is: the ability to create, through human hands, human craft and human creativity, shapes, colors, and structures capable of generating deep emotions, sensations, and feelings. And no AI in the world, no matter how developed it becomes, would be able to recreate that kind of emotional experience.

That’s also what J.A. always tries to bring to his creations: the ability and the freedom to experiment. And you have to be bold enough to admit that. Let´s be honest, to say that you are allowing yourself the joy that comes with the freedom to experiment creatively at the House of Dior is honorable. Like Lynda, Jonathan Anderson himself is not afraid of ideas.

Since his first collection at Dior, almost a year ago, J.A. has been both humble and courageous enough to say that the maison, in his hands, is a work in progress. That he is experimenting with shapes, with the brand’s history and heritage. That he is not trying to please everyone or do what everyone expects of the brand. That he is trying to create something new.

Isn’t that super bold in our world? To say that the thing you care about most is not meeting everyone else’s expectations? I applaud him for that.

And also, the fact that he is always drawing inspiration from other artists, from artisans, from Monet, from sculptors, from nature itself, is so beautiful and refreshing in a world that can be so self-referential and afraid to try new things, especially under the commercial pressure the luxury industry has been carrying.

For me, J.A. is bringing fashion, couture, and Dior back to the origins of what those great maisons were born to do: push the boundaries of the obvious to inspire.

Especially with the development of AI, as everything is becoming a huge mass of sameness, that kind of thinking is more important than ever. Not only if we want to keep couture alive, but if we want to keep human art and creativity alive.

And it has to come from huge corporations too, like Dior. Because who else has the money to compete with AI billionaires?

But let’s talk about the clothes:

The first hat that comes down the runway is the best example of J.A.’s boldness. Truly something I’ve never seen before in couture. It is not concerned with being what everyone would call beautiful. And at the same time, it is able to create emotions that I’ve never felt before. It’s weird, it’s new, it’s awe-inspiring, it’s creative, and that’s exactly why it’s beautiful.

As the collection continues down the runway, nothing is as expected. The draping of the dresses and the way they move are nothing short of whimsical.

You can clearly see the inspiration from Lynda’s work and shapes, but you can also clearly see J.A. and Dior. It’s Dior and J.A. attempting, at the same time, something they’ve never done before. Pushing the boundaries of what’s been done in fashion, in couture, in a great and historic maison.

We can also see the experimentation in the maison’s famous Barn Jackets, which are once again reimagined, now carrying those natural, fluid shapes even in their closures. You can see my point in that piece: it’s Dior, it’s an iconic piece of the brand, but it’s done, again, in a way that has never been done before. Even by J.A. himself.

And that is because he is not afraid of pushing himself. He’s not afraid of ideas. He’s not here for trends. He’s here for creativity, and that is what a true creative exercise is: trying and trying again until you have exhausted all the ideas you can possibly imagine. That’s where the magic comes from. And that’s what AI could never do.

Also, have you paid attention to the hand-painted bags? If something is hand-painted, handcrafted, the richness of it is this: no bag will ever be the same as another. Because the way that brush moved across that canvas on that day, while the person holding it was feeling whatever they were feeling, allowing their creativity to flow in that particular way, can never be copied.

The beauty also caught my attention. It’s all natural skin, with sparks of glitter. Exactly what this collection is: an ode to natural shapes that can only be enhanced by human hands and creativity.

No wonder the show was held in a garden. A forest, to be more specific. A place where nature is at its most creative.

And the bride at the end? Everything that the collection is: fluid, light, new, whimsical, unique, a breath of fresh air in a sea of sameness. It does not want to be perfect. It wants to be beautiful in its own imperfection, and that is precisely what makes it exceptional.

For, me this collection is the epitome of luxury in the sense of exclusivity and uniqueness in a world where everything can be copied to exhaustion with only a few prompts and clicks.

Let’s think about Monet for a second. You could surely ask any AI to recreate a Monet work, like the famous “Water Lilies”. And it would probably do it with some degree of similarity. But the emotion that the original piece carries, the magical feeling that brings tears to your eyes when you’re standing in front of it at the museum - that can never, ever be replaced.

Because it carries the emotion Monet himself passed through the canvas when he created it. And that existed in that moment alone.

And that is how, my friends, you answer the million-dollar question of the industry: How can luxury brands connect with people in a world filled with robotization and massification? By being bold enough to push the boundaries of creativity, using art and human hands to create true uniqueness and exclusivity. The kind only human beings and human creativity can create, and that can never, ever be replicated.

Fear not, dear reader. I’m here for you. Let’s get into it!

But first (especially if you’re an ugly-shoe hater), hear me out: yes, I might have been the number one fan of ugly shoes long before they became a thing, so yes, I may be a little biased here. BUT, I can 100% guarantee that if you walk a lot, there is simply no other way your feet are going to survive this end-of-the-world heat without a pair of ugly sandals.

In this edition of my newsletter, I’ll give you examples of brands, models, and styling ideas based on my own experience. But before we get there, I’d like to establish a few criteria.

First, you have to keep in mind that there are two types of ugly shoes (and clothes in general, but let’s focus on shoes here): the Fashionable Ugly and the Ugly Ugly.

The Fashionable Ugly category includes everything that should be ugly by common sense. Think of a Tabi, for example. At the same time that it’s weird, it’s interesting enough to make you want to look at it and ask yourself: how in the world can this person wear this thing and still make it look cool?

It catches the eye because it’s unique and because it says something about the person wearing it, about their daring courage to be bold and different.

Now, the Ugly Ugly category is made up of every other shoe that is just meh.

You know that feeling when you look at something and it had everything to be good but it’s just BAD? It’s functional, but bad. It’s comfortable, but sad.

Think of BROWN AND BEIGE DECATHLON SANDALS - urgh.

They had EVERYTHING to be awesome because your feet and ankles will probably thank you so much for wearing them, but HOW CAN YOU?

They combine every element that’s bad in the fashion literacy of ugly things: 100% commonness, 0% eye-catching appeal, they make every outfit look like trash, and give off that instant “I gave up on my life” feeling.

All of that to say that in this edition, we’ll obviously be reviewing the fashionably ugly category, so you, my dear reader, can look stylish and comfortable in this heat without feeling meh. Because God forbid that happens.

But what are my qualifications for doing that, you may ask?

Well, besides being an ugly-shoe lover, I have a lot of walking-in-extreme-heat field experience. I come from Brazil, spent most of my holidays at the beach, and now live in Madrid, where I’m entering my third summer.

In case you don’t know, Madrid can reach 46 degrees Celsius with a perceived temperature of 50. The best way to describe how summer feels here is this: you are inside an air fryer at maximum capacity.

Brazil is also very hot, yes, but there’s usually a lot of wind. Here in Madrid, though? Not a single breeze. Which means it’s nearly impossible to wear closed shoes or socks unless you want to overheat and possibly collapse.

Also, I have VERY sensitive feet. Everything you can possibly imagine bothers my feet, so I can tell from a distance when a shoe is comfortable or not.

So, without further ado, let’s dive into the incredibly fun universe of fashionably ugly summer sandals!

Based on my experience, to choose your perfect summer fashionably ugly sandal, you will need the following attributes:

• Be comfortable enough that you can walk around all day in 40-degree weather, whether you’re commuting, sightseeing, or simply spending the day on your feet, and still be able to stand without terrible blisters or heel pain the next day.

• Be stylish enough that people will notice. The kind of reaction that says: “Okay, that’s a bold choice.”

• Have enough grip on the sole so you won’t slip on slippery surfaces.

• Be secure enough that they don’t keep slipping off your feet. For me, that’s SO annoying.

• Not be too tight. When it’s hot enough to feel like you’re living inside an air fryer, your feet tend to swell, and you can imagine how that can be unpleasent with tight shoes on.

• Be wearable with socks if you want. It’s good to have that option, especially in places like beach towns where the evenings can get colder.

• Match enough clothes in your wardrobe to create outfits throughout the entire summer.

Bonus points:

• If they’re made from a material like rubber or plastic that you can also wear to the beach, they’ll save a lot of space in your travel bag.

• If you have sensitive feet like me, make sure the sole and heel are cushioned. Now, that’s the tricky part, because most of the main options (aka orthopedic shoes) tend to fall into the Ugly Ugly category. BUT I’ve managed to find a few that are actually stylish.

Finally, let’s dive into the list!

1. TEVA – THE ORIGINAL MODEL

Here´s some styling ideas.

Hear me out before you make an ugly face and close this page: Even the queens of quiet luxury themselves (aka the Olsen Tweens) have been seen wearing them last summer. Also, the good news is that they don’t cost a kidney. For around €65, you can get the OG ones, for example.

I think of mine pair as my summer Salomons: my go-to shoes when I don’t want to think about it or when I only have space for one sandal in my travel bag.

Also, they are EXTREMELY comfortable! I swear to God I’ve never worn anything more comfortable in my entire life.

Mostly importantly, they don’t hurt my super-sensitive feet in any way at all, they have good grip (I trip over my own feet all the time and I’ve never fallen wearing them), you can wear them in the city or at the beach, and if you’re a nature girly, even on hikes.

Also, I truly think they’re very stylish because you can create a high-low mix or a clash of styles easily with them thanks to their “dad shoe” quality.

For instance, if you’re wearing a flowy or romantic summer dress, a black Teva is a great “breaker” for the look.

And if thats not enough you can easily wear socks with them if it gets chilly at night or wear them during autumn and spring.

Mine are black like most of my shoes because:

1. I love black shoes.

2. Sandals can get very dirty, especially if you’re walking on sand or dirt, so black makes it easier.

But they also come in different colors.I’m dying for a pink pair (the pink only comes in the slim model).

2. TEVA – MIDFORM INFINITY MODEL

Here´s some styling ideas.

This is the model that the Olsen twins made viral last summer.

To be honest, I haven’t tried them yet, but I do think they are very cute. Especially in the lavender shade. I can see SO many outfits with them.

And for this model, I do prefer the platform version because I think it looks more balanced when the straps are thin and the sole is chunkier.

But you can definitely go with the flat version if that’s more your style.

3- BIRKENSTOCK

Here´s some styling ideas.

Birkenstocks fall into the category of shoes I’ve been wearing since I was a teenager.

Actually, being a millennial, there was a time when those sandals were such a hit that every other brand had its own version, and you absolutely couldn’t find them in stores because they sold out so quickly.

Even in winter, I used to wear them with socks to go to school, to the movies, to dinner. It was a whole vibe.

I still love mine so much I actually brought a pair from Brazil (not the one from my teenage years lol), and I wear them whenever I want something simple and easy to slip on that still works with everything I own.

I also love them because I prefer chunky shoes over delicate ones. I think they add much more depth to a look.

For them you can choose between the closed-toe version and the open-toe version. I personaly prefer the open-toe version for summer and the closed one for autumn and winter, because I need my feet to fully breathe.

As far as comfort goes, they don’t hurt me at all, but I don’t love wearing them when I know I’ll be walking a lot because the sole isn’t the most cushioned and, again, I have very delicate feet.

So I tend to wear them for lunch, dinner, coffee dates, or shorter walks. But if that isn’t an issue for you, go for it.

Oh, and they’re not the best option for the beach either. They get very heavy when wet. So keep them for the city.

Here’s some styling ideas:

4- VIBRAM FIVEFINGERS

Here´s some styling ideas.

Very unfortunately, these are the ones I don’t own yet, but they are currently on my Rebajas wishlist. (Rebajas are a crazy discount season here in Spain that happens every six months when the seasons change.)

And that’s because, honestly, I find them a little overpriced. €110 for what is essentially a fabric ballet flat feels like a lot to pay at full price.

But for the good things: What I like about them is that they are so different and have so much personality. Also, they are VERY useful.

They’re breathable, they can get wet, they dry very quickly and, just like Tabis, it’s said that it’s healthier and more ergonomic to wear shoes that follow the natural shape of your toes.

Also, if you’re going to the beach in Europe, unlike in Brazil, it can actually be a bad idea to go into the sea barefoot because it’s filled with tiny rocks that will try to murder your feet (I learned that the hard way).

And you also can’t really go in the sea wearing something loose like Havaianas because you’ll lose them in the ocean (learned that one the hard way too - miss my baby blue and white pair till this day).

I also love that they come in different colours like red and grey, and they instantly make an outfit feel different from what everyone else is wearing.

Plus, most people tend to hate them, which only makes me love them even more.

Here are the models currently on my wishlist and some styling ideas:

5-CROCS

Here´s some styling ideas.

Before I begin, I know Crocs are a very controversial subject.

BUT I will defend one thing about them:

They are extremely comfortable in terms of foot support and I absolutely love the idea that they can be personalized. I love the thought of having a shoe that only I can have because I chose those specific charms.

The idea that I can mix a unicorn, a Pikachu and a cherry together and somehow it’s completely acceptable because I’m wearing Crocs.

I also love outfits where everything is relatively basic and then the shoe is screaming LOOK AT ME.

I’ll include pictures of the two pairs I own so you understand what I mean.

On top of that, Simone Rocha, the queen herself, has done an entire collaboration with the brand that has been going on for years now, and it’s one of the best footwear collaborations I’ve seen in a very long time.

They’re chunky enough to pair with something more romantic and create an interesting contrast in the styling.

I personally prefer wearing mine with socks, but again, I have very sensitive feet.I know lots of people who don’t need to do that at all.

They also make sandals, but I’ve never tried them because I prefer my Melissas (which are coming up next), but I think they’re cute too. And of course, you can personalize them however you want.

6-MELISSA

Here´s some styling ideas.

Now this is an emotional one for me.

There is not a single millennial girl who grew up in Brazil who hasn’t worn a pair of Melissa sandals at some point in her life.

I have pictures of myself as a little kid wearing the craziest and cutest Melissas imaginable, covered in bees, rainbows and glitter.

At one point in my life, I ONLY had Melissas in my wardrobe. I loved them so much that I refused to wear sneakers. And when it got cold, I wore them with socks (side note: winter in Brazil is perfectly manageable with socks and sandals compared to European winter).

My emotional attachment to them is so strong that when I found out I was moving to Spain, I made sure to go to a Melissa store and buy the models I thought I couldn’t live without.

Obviously, I wanted to bring more, but my wife was already ready to kill me because of how overweight our suitcases already were. Still, for me, those were essentials.

Here in Europe you can buy Melissa too, but in Brazil we have many more models, access to new launches first, and they are significantly more affordable.

Here are the pairs I brought with me and the ones I recommend the most for summer.

7-HAVAIANAS

Here´s some styling ideas.

Oh my. What can I even say about Havaianas?

I know they are having a fashion moment in the world right now, but the truth is that we Brazilians are practically born wearing Havaianas.

Honestly, I don’t even think of them as ugly shoes at all because they are probably the shoes I’ve worn the most throughout my entire life.

They are also the most democratic footwear item in Brazil. I am 100% sure that EVERY person in Brazil, regardless of social class, has owned at least one pair at some point in their life.

It was only after moving to Europe that I discovered some people actually consider them controversial shoes.

My mind was honestly blown. Controversial how? They’re literally the simplest shoes a person can wear.

For me, they are also the most comfortable.I brought at least four pairs from Brazil because, just like Melissa, we have far more models available there and they’re much cheaper.

Also, my Havaianas each have a specific purpose:

I have the stay-at-home pair, the beach pair, the going-out pair and the funky pair.

As far as comfort goes, I can personally walk miles and miles in mine without getting a single blister or feeling any pain. Although I don’t know if that’s because I’ve worn them for so long that my feet basically see them as being barefoot.

FINAL THOUGHTS

If there is one thing I want you to take away from this newsletter, it is this: summers, in the world we live in today, are simply too hot to survive without the right shoes. Also, there is absolutely no reason to spend three months dealing with blisters, aching feet, or shoes you secretly hate.

Why do it in ugly sandals? The best thing about them is that they make an almost-too-hot-to-handle summer far more bearable while still feeling stylish, interesting, and unique.

And, let’s be honest, they come with the added bonus of shocking people with very conventional taste.

After all, isn’t that what good fashion is all about?

Happy ugly sandal summer to us all!

IYKIK

It’s safe to say that the usurper in this case had its coronation held at none other than the industry’s biggest event: the Met Gala, but it is also safe to say that WE HAD SIGNS.

If you are reading this you probably like fashion a little more than the next guy, and so I will assume that it’s gladly not needed for me to do a detailed recap of those moments - let’s all spare ourselves from the cringiness of it all - like the infamous Lauren Sánchez Bezos Vogue cover or the Mark Zuckerberg front row moment at Prada - Miuccia, you had promised us better than that!!!

But I will say this: when I saw Anna Wintour - that is a famously declared Democrat - walking around up and down with Mrs. Bezos at the last fashion week I thought to myself: that’s it, it’s over. The queen had been dethroned. And we, mere small folk, will all pay the price.

But what does that mean, after all? And most importantly, what are the real implications?

Hold tight to your last Vogue-without-the-Bezos-family-finger on it and let’s bravely dive in:

1- Beautiful on the outside, ugly on the inside: historically, fascists have always used the control of aesthetics - always polished, always “perfect”, always “standard” - as a way to also control public opinion and disguise, like a smokescreen, all the rottenness happening behind - think Nazi Germany, for example, where visual culture was carefully crafted to project order and purity while hiding systemic violence. It is no coincidence that the billionaires who have been approaching the major media outlets, brands and events in fashion have their political roots hand in hand with the government of Donald Trump and the far right. Controlling the narrative of aesthetics through fashion is a way to hide everything that has been happening behind the scenes, such as the controversies that have been appearing with the uncontrolled development of AI or the indiscriminate data control policies over users. The robot that walked on the MET red carpet, the most coveted carpet in the industry, was not a mere coincidence.

2- The Devil wears a metal suit: speaking of the robot on the red carpet, this was the most in-your-face PR strategy I have seen in recent times, and look, I have been working with this for over 10 years. Think about it like this: everyone is afraid of what is coming in the era of robots. Will they steal our jobs? Will they control us by being more intelligent than us? Will we become hostages of androids in the near future? All these apocalyptic predictions are softened (at least in image) when a representative of their category walks up the most desired stairs in the world posing for the most coveted photographers in the media.

3- Those who don’t have influence, buy it: Condé Nast - especially Vogue - are very influential vehicles in shaping opinion and have a very strong influence in culture. But, until now, Vogue has been - somehow, and a big somehow here - in the hands of Anna Wintour, a symbol of disruption. From the cover with Madonna at a time when she was an absolutely controversial figure, to the decision of not placing only models but also “normal” people on covers, Vogue America especially has always tried to be a beacon of cultural innovation and progressivism. But, in a world of Donald Trump, where everything is purchasable, especially public perception, it is hard to imagine that a vehicle of this magnitude of influence would remain untouched by the claws of the far right. Propaganda has always been a very strong tool of the far right and, considering that Donald Trump’s approval numbers have been dropping close to the elections, it is very clear that this move was much more in the direction of controlling cultural perception and “fashionizing” through fashion the image that has become tacky of the far right.

4- A final prediction: having said that, I will leave here my prediction: in the coming months Jeff Bezos - either through Amazon, or personally - will announce the acquisition of Condé Nast, in the style of Elon Musk buying the beloved Twitter. And this is a novel we have unfortunately already had to watch. For me, if thats the case, the destiny of Condé Nast should be the same as Twitter’s: a major restructuring, titles disappearing, progressive editorial lines being deleted, covers and editorials becoming increasingly standardized, whitened, ozempicized.

All these actions were clearly made and planned with one single strategic objective: to use fashion and the grandiosity of its cultural influence to transform public opinion about the American far right, which has been dropping in approval especially after global tensions like the Iran war.

And what is left for us, mere progressive small folk fashion lovers, you may ask?

That is a subject for the next text. Until then!

No one explains this at the beginning in fashion schools, and by the time you realize it, you’re already trying to catch up.

This happens because, for decades, fashion has been shaped by a strong mythology: the genius designer, the runway as the ultimate expression of creativity, the idea that talent alone builds relevance.

But the current reality is much more complex: building a career in fashion today requires creativity, strategic thinking and a clear understanding of how the business works. This combination sustains relevance over time.

So first, I would encourage you to ask yourself: are you ready and willing to learn more about marketing and business strategy? Because this is KEY.

If your answear is YES, don’t worry, I’m here to help!

In this article, I’ll share key lessons I took from Jonathan Anderson in his interview with Tim Blanks on System (YouTube). He offers a perspective that functions as a masterclass on what it takes to build a career in fashion beyond creativity and design knowledge, combined with a practical list I’ve put together based on my own experience as a professional in the industry and my studies across its different areas, outlining what you should be studying and developing as skills to get there.

(Oh, why is J.A the right person to speak about this, you ask? He not built his own brand from the ground up into a success, but transformed Loewe into a cultural and commercial force AND now steps into Dior overseeing the entire house, including couture).

So let’s get to it:

1. Fashion is a business first and foremost, and the business often defines the work.

“The fashion show is really one tiny component to the whole thing.” J.A

The runway sits within a broader ecosystem that includes content, retail, digital platforms, cultural positioning and global distribution.

Working in fashion today means understanding how these layers connect.
Creative output gains strength when aligned with this system.

Many careers reach a limit at this point.
They are grounded in aesthetic sensitivity but lack strategic structure and business thinking.

What you need to study and understand:
Business fundamentals, fashion business models, retail dynamics, omnichannel strategy, marketing strategy.

2. It takes a village: creativity operates through coordination and multiple people working together

“There is no such thing as the humble designer locked in a room sketching.” J.A
“It’s like being a coach.” J.A

Creativity in fashion is built collectively.

Creative leaders guide teams, align departments and ensure coherence across every brand expression.

This requires creative ability combined with strategic clarity and operational awareness.

Creativity becomes effective when it moves through systems without losing meaning.

What you need to study and understand:
Leadership, team management, creative direction, project management, cross-functional collaboration.

3. Desire needs to convert: business results are an essential part of the work

“You’ve got to convince people to go in the store and emotionally purchase something.” J.A

Fashion operates through desire.
Within a business structure, desire needs to translate into action.

A career in fashion depends on understanding this dynamic.
Ideas need to resonate culturally and generate engagement that sustains the brand.

Business thinking becomes inseparable from creativity.

What you need to study and understand:
Consumer behavior, psychology of desire, sales strategy, performance marketing, data analysis.

4. You need to understand branding to build relevance

“You’ve got to really rework the purpose of the brand as a word before you can rework a product.” J.A

Branding functions at the level of meaning.

Clarity around what a brand represents shapes perception and informs product decisions.
Professionals who engage with this level contribute to direction, not only execution.

In a saturated market, this capability becomes a key differentiator.

What you need to study and understand:
Brand strategy, positioning, storytelling, semiotics, cultural analysis.

5. Knowing the language of culture and social media builds positioning

“Fashion is going to be a war of words now.” J.A

Images circulate rapidly and lose intensity through repetition.
Language holds the ability to define, frame and sustain meaning.

Fashion professionals are expected to interpret, contextualize and communicate with precision.
Clarity of thought becomes part of creative impact.

What you need to study and understand:
Content strategy, social media strategy, cultural trends, copywriting, communication.

6. Thinking like a strategist means working with real cultural tensions

“We love the aristocrat, but we hate the aristocrat.” J.A

Fashion operates through tension.

Aspiration and rejection coexist.
Exclusivity and accessibility interact.
Desire often carries discomfort.

Understanding these dynamics allows for more precise and differentiated work.

What you need to study and understand:
Cultural insight, trend analysis, sociology, psychology, strategic thinking.

7. Careers are built through structure, time and real experience

“Sometimes it’s really better to work for a brand than to start one.” J.A

Experience within established structures builds critical knowledge.
Operations, scale, decision-making processes and internal dynamics shape long-term growth.

A career in fashion develops through this combination of creative and structural understanding.

What you need to study and understand:
Business operations, organizational structure, supply chain basics, industry dynamics, long-term career strategy.

Summing up, what this masterclass reveals for fashion professionals:

The industry requires a hybrid mindset and a complementary set of creative, strategic and business skills.

Creativity remains essential, but strategic thinking defines direction and business understanding sustains continuity and results.

Professionals who connect these dimensions are able to grow, adapt and remain relevant over time.

The complete skillset fashion professionals need to build today:

.Creative thinking and aesthetic sensitivity
.Strategic thinking and problem-solving
.Business and financial understanding
.Brand strategy and positioning
.Marketing and communication
.Social media and content strategy
.Consumer psychology and behavior
.Cultural analysis and trend forecasting
.Leadership and collaboration
.Operational and industry knowledge

Tell me in the comments: how are you preparing yourself to reach this level if you want to build a career in fashion?

He said it calmly into a microphone, in the middle of a very important meeting full of very important people.

We held the same hierarchical position at the agency where I was working as a strategist. At that point, I was already working as a stylist outside my corporate role. I had clients and formal training. I was building something parallel to my strategist career.

That day, I had offered to help style the executives presenting in a high-stakes meeting. The suggestion had come from one of the female heads. She knew I did this work, and she believed I could make a difference in a very important pitch we had all been working on nonstop for weeks.

But that man didn’t care.

He didn’t ask about my background, he didn’t ask if I had clients, he didn’t ask how long I had been doing it. Hell, he himself did not work in fashion.

He simply stated, with the full confidence only a man who wants to diminish a woman has, on an open mic in the middle of a C-level meeting:

“You’re not a stylist. You don’t have an archive.”

The irony is that the statement was incorrect even on its own terms. But again, it didn’t bother him. He didn’t care.

Just to clarify the concept correctly: yes, some stylists have archives. Extensive ones. Racks of vintage pieces, designer samples, accumulated garments built over years. That is one model of practice.

But styling is not a monolith.

Some stylists rent pieces from others, some pull from brand showrooms, some work through partnerships with fashion houses, some build looks directly inside stores. Some even help clients decode their personal wardrobes - and in that case, the archive is the client’s closet. Some construct narratives through purchasing strategy, where the “archive” is retail space itself.

There are editorial stylists, commercial stylists, brand stylists, personal stylists, consultants. There are stylists who own thousands of garments. There are stylists who own none.

And yes, I have used pieces from my archive many times. During my time at Vogue Fashion College, for example, many of my shootings incorporated pieces from my own archive, even though they had a huge archive for us to choose from. For campaigns with Folga, the brand I have a partnership as a stylist, I have also used garments from my own archive. But I have also built styling entirely through brand partnerships, showroom pulls, retail sourcing, and client wardrobes.

My point is: the rule the man in this case invoked does not exist. It is incorrect. And yet, the certainty with which it was delivered carried weight in the room. It made me feel ashamed, and somehow, I didn’t do the job. Did he think about that? No, of course not. He just wanted to be right about me.

The issue was never technical. It was about male ego. And in fashion, that is a huge problem. Sadly, I am not the only one affected by it.

Fashion is often described as a female industry. Women populate ateliers, communication teams, editorial offices, styling studios. They are also the biggest consumers. Yet the highest positions of creative authority remain disproportionately male - and often white. The aesthetic labor may be feminized, but the authorship is not.

When a woman claims creative space, legitimacy becomes negotiable. Maria Grazia Chiuri is a great example of this and articulated this tension clearly in a recent interview:

“When a male designer does a big number, he has a sense of business. But if a woman designer does a big number, it is because she is commercial.”

During her tenure at Dior, where revenues reportedly increased dramatically under her direction - tell me you didn’t see or want the “We Should All Be Feminists” graphic T-shirt? - the discourse surrounding her collections frequently questioned boldness, creativity, depth. “It’s too commercial,” they said. And they may be right. But the numbers were also historic in a struggling market. From the top of my head, I can name at least a few male designers who are 100% commercial in their creations and receive zero criticism for it. Instead, they are applauded. “Commercial geniuses,” they say.

In the same interview, Chiuri also spoke about the mythology of genius in fashion:

“Because geniuses are only men. Creative people, only men… It’s like chefs: a chef is a man and a cuoca is not equal. Nothing changes.”

The statement reads less as a complaint and more as a diagnosis.

Back in my meeting room, the sentence lingered:

“You are not a stylist.”

It was a clear attempt to decide who has the right to occupy which territory.

Identity in creative fields is not given. It is constructed through practice, repetition, visibility, and persistence. And creative women certainly know a thing or two about how hard it is to achieve that - especially in male-dominated industries such as fashion and advertising. But my point is this: no man can give us that authority. We give ourselves that authority through the results of our work.

My results? A few years later, I work as a stylist for brands, for people, for magazines. My work is published. I write, I consult, I build visual narratives. I use my archive. And I also work without it.

What do I take from all of this?

Sometimes the most radical act is continuing your work. That alone will prove them wrong.

And for that, you’ll need utilitarian clothes, hats, knee-high boots, sneakers, gloves, hunting caps and everything else you can muster to bring. Of course, we can add a little glitz and glam here and there. After all, we’re talking about Miuccia Prada, the queen of high-low. But let’s not forget the utility and the purpose of our gear.

Now, if you, dear reader, think I’m reading too much into this, as I mentioned in my latest Prada FW26 piece, if you want to truly understand a Miuccia Prada collection and runway show, you should never read it literally.

The Miu Miu girl has grown. She has evolved with the challenges of the world. She’s not so quirky anymore, she’s more mature, more wise. And you can see that in the casting: older women, real actresses and not only models, curvier women, older woman, stronger women.

Images Miu Miu Website and Vogue Runway

And as I’m sure the gods of fashion always favor Miuccia Prada, they gave us a moment that I could swear was aligned with production. One girl was walking through the muddy grass when suddenly her squared high heel fell off her right shoe. She tried to put it back on, but it didn’t seem to work out. What did she do? She took her shoes off and kept walking barefoot on the muddy grass. Isn’t that just perfect? It’s exactly what the Miu Miu girls are having to do right now in our crazy and unpredictable world: adapt and keep moving.

Images Miu Miu Youtube

I also thought a lot about climate change watching that show. You have to remember that this is a Fall/Winter runway, but how can brands expect to do seasonal clothes in this crazy weather anymore? The truth is that people might need to leave the house wearing a dress and a very technical jacket over it because who knows if it might start pouring rain when it’s not supposed to, or even be hot in winter.

With the luxury market being increasingly questioned as consumers weigh the value of spending thousands on a single piece of clothing that might not have more than one use, making clothes that adapt to a world where seasonal weather is unpredictable also makes a lot of commercial sense.

For the clothes and styling, I especially loved the oversized wool gloves paired with sheer, fluid dresses underneath a technical jacket. Because who knows what climate our girl will have to face along the way before she can get to her more glamorous affairs later at night.

Images Vogue Runway

Honorable mention to the leather blazer-and-dress suit that makes the girl seem to be emerging right out of a swamp. Only Miuccia can make something like that feel beautiful.

Images Vogue Runway

Summing up, for Miu Miu FW2026 Miuccia says: girl, you have no idea what’s coming for you, but fear not. I’ve got your back. Quite literally.

For many years I lived in São Paulo, Brazil, and I can tell you exactly what it means to try to live your normal life surrounded by the deafening sound of jackhammers outside your window while you attempt to concentrate on work for twelve hours straight. Or to walk down the street navigating broken sidewalks in heels while avoiding possible pieces of concrete that might fall from somewhere above.

Chanel Instagram Image

So when the show opened with a Brazilian MPB rhythm, I immediately felt transported back home. A space that is beautiful and vibrant, yet undeniably chaotic. Anyone who has lived in São Paulo will recognize that feeling instantly.

If in the last Couture Chanel show we were immersed in a dreamy garden filled with birds and mushrooms, this time, in Ready-to-Wear, we were brought back to reality. The reality of the construction site world we are living in.

Chanel Instagram Image

That strategy makes perfect sense in a world where fashion creative directors no longer have the liberty to create whatever they feel like without thinking about what can drive the luxury market out of its current crisis, where consumers are no longer seeing value in paying exorbitant prices for pieces they could only wear one or two times.

In fact, the industry itself has started openly discussing what some analysts are calling a “luxury slowdown.” In an episode of the BoF Podcast, editors from The Business of Fashion explain that after years of aggressive price increases and rapid expansion, the sector is facing a moment of correction, with aspirational consumers pulling back and brands being forced to rethink value, creativity and relevance. You can listen to the discussion here: https://www.businessoffashion.com/podcasts/luxury/the-bof-podcast-the-luxury-crisis-explained/

The conclusion is: in the reality of today’s world, luxury must also be made for real life. For people who want to enter luxury brands with medium high prices and not only for the 1%.

And for those people, reality lately can feel quite brutal.

In my experience, surviving in a crazy, noisy construction world, figuratively and literally, often requires a little bit of magic. Or perhaps a little bit of delusion like pretending that the broken pavement is actually glitter, putting on your headphones and blasting some Lady Gaga while wearing a spectacular outfit and acting as if none of the chaos around is really happening.

Of course, if you can do that while wearing a glittering Chanel suit, carrying a Chanel flap bag and walking in incredible shoes, even better.

Delusions aside, the world we are living in today can often feel like a construction - or destruction? - site. Wars erupting, political tensions escalating, economic uncertainty everywhere.

This tension between instability and luxury consumption is also being discussed across the industry. As noted by The Business of Fashion in the briefing When War and Luxury Collide, escalating geopolitical conflicts are increasingly exposing how fragile the luxury ecosystem can be, affecting supply chains, consumer sentiment and the broader global markets in which luxury brands operate.

In other words, luxury today is not being created in a vacuum. It exists in the middle of a world shaped by geopolitical tensions, economic anxiety and social instability.

Ok, with all of that said, now let´s finally dive into the clothes:

Floral suits, light and bright colors, prints, feathers, trench coats and jackets, glitter, bags large enough to carry the necessities of everyday life, clothes that allow the body to move. Pieces designed to navigate the chaotic and uncertain world we live in without completely losing the little magic we still have left.

Vogue Runway Images

And maybe that magic lives in clothing. After all, what else can fashion do in moments like this, besides offering a refuge of beautiful imagery?

The models appeared with real makeup, real hair, real diversity, different ages, styling that wasn’t overly polished but instead felt lived in. Shirts worn slightly loose over trousers or skirts. Silhouettes that allow movement. Lower waists, softer structures, clothes that don’t feel restrictive. That’s the real Chanel woman of today. She wants glamour, yes, but she also lives in reality and not in a fantasy. And that does not mean she wants to give up glamour and beauty.

Vogue Runway Images

In an interview with Vogue last October, Matthieu Blazy spoke about the importance of clothing that accompanies women through their real lives rather than dressing an idealized fantasy.

He also noted that the foundations of the house were built around functionality:

“Coco Chanel took the clothes of the worker, pieces you can move in, and gave them to the aristocracy. That became the modern wardrobe. But it all started with something functional.”

And he also pointed out that the image many people have of the house today is shaped by a very specific period of its history:

“The way Karl Lagerfeld saw Chanel is a very specific vision of what the house is. When you go back to the early years of Gabrielle Chanel, you realize that many things happened that were never told, even though they gave origin to the codes.”

This whole idea is not new to Chanel. In fact, it sits at the very core of the house’s history.

When Gabrielle Chanel began building her fashion empire in the 1910s, Europe was entering the upheaval of the First World War. Social structures were shifting rapidly, and women were increasingly entering public and professional life.

At a time when fashion was still dominated by corsets, heavy fabrics and restrictive silhouettes, Chanel introduced something radically different: clothes designed for movement.

She popularized jersey fabric in women’s fashion, a material previously associated with men’s underwear, precisely because of its comfort and flexibility.

Chanel also embraced elements of menswear tailoring, creating relaxed suits, knitwear and soft silhouettes that allowed women to move through the modern world with unprecedented ease.

Perhaps the most iconic example of this philosophy arrived decades later with the famous 2.55 handbag. The bag’s chain strap allowed women to carry their belongings hands free, something revolutionary at the time. As Chanel herself once said, she had grown tired of holding her bags in her hands and losing them, so she decided to add a strap.

The gesture may seem small today, but it fundamentally changed how luxury accessories functioned in women’s daily lives.

Seen through that lens, the collection feels less like a stylistic departure and more like a return to Chanel’s founding logic. Oddly - or not - we´re living in a world that seems very much like the one that Gabrielle Chanel was navigating in her time.

So there we have the new Chanel from Matthieu Blazy: glamorous clothes that allow women to move through the chaos of the world comfortably, confidently, and yes, beautifully.

After Pierpaolo Piccioli’s FW26 show, and I decided to experiment with a shared reflection written from two different places: one perspective from Madrid, through Laguistics, and another from Milan, through Fashion Diarist.

The idea was to look at the same show through different lenses and see what emerges when two interpretations meet. Fashion, after all, is never only about what we see on the runway. It is also about how we read it.

:

How do you make fashion in a world that increasingly feels consumed by darkness? For me, that was the question lingering in the air as the Balenciaga Winter 26 collection, ClairObscur, began.

The first looks emerged from a darkened stage dressed almost entirely in black. Gradually, other tones appeared. Browns, deep reds, burgundy. At the same time, the scenography began to shift. What started as a dim, enclosed space slowly opened into landscapes. Nature appeared. Light changed. The atmosphere moved from soft to ominous, from clarity to weight.

Balenciaga FW26 - Vogue Runway Images

BALENCIAGA FW26 - Images IG

A sea, a windmill. Then, deeper into the narrative, a wolf in a dark forest.
The soundtrack evolved as well. Music that initially felt abstract began to introduce lyrics, as if language itself was slowly entering the story. The effect was subtle but powerful, it felt like witnessing the arrival of a new day after a long night.

Balenciaga show seemed to ask a urgent question about the moment we are living in: what comes after darkness? Is there still light ahead? PPP suggestion was simple and almost disarming: the light is in people, in love, in each other.

In the clothes, the dialogue with the house’s history was unmistakable. The silhouettes recalled some of the most iconic codes established by Cristóbal Balenciaga: the sack dress, the balloon shapes, rounded coats, dresses that transform into hoods. These were forms that once redefined the architecture of clothing.

Balenciaga FW26 - Vogue Runway Images

Yet the collection was unmistakably the work of Pierpaolo Piccioli. He is one of the rare contemporary designers who still treats fashion as a sculptural discipline. His mastery of form was present throughout, especially in the treatment of leather and draping, where structure and softness coexisted. What emerged was a fascinating hybrid: the Balenciaga of Cristóbal navigating the present through Pierpaolo’s sensibility.

Unlike the era shaped by Demna, whose political commentary often operates through confrontation and provocation, Pierpaolo’s approach felt quieter but no less political. His message did not seek virality or immediate reaction. Instead, it asked the audience to feel, to reflect, to sit with ambiguity.

The music reinforced this idea. Tracks from the album LUX by Rosalía appeared twice during the show. The album itself moves against the logic of mainstream pop, blending classical influences with contemporary experimentation.

That tension between classic and modern mirrors what Pierpaolo seems to be doing here. Classical Balenciaga codes meet the complexities of the present moment.
Because the world today rarely feels simple, it feels suspended between opposites: light and darkness, good and evil, right and left, certainty and doubt.

That duality became explicit in the final two looks: one appeared almost entirely light, the other almost entirely dark. Structurally they were similar, both luminous, both powerful. One did not negate the other, they coexisted.

Balenciaga FW26 - Vogue Runway Images

And then the show closed with something very emotional. As a song about love filled the space, images of real people appeared on the screens. Diverse faces, ordinary lives: a reminder of what connects us instead of what divides us.

Perhaps that was the final message: more than anything else, what might guide us out of darkness is not power, nor luxury, not status, nor even beauty or fashion. It might simply be our capacity to love one another and accept our diferences.

:

Balenciaga has always been rooted in architectural fashion. Its founder, Cristóbal Balenciaga, was known for sculptural silhouettes and an almost architectural approach to tailoring, which became the core DNA of the house.

When Demna took over we can’t really say he “erased” that DNA but introduced a completely different cultural layer — irony, streetwear and internet-driven fashion. Balenciaga became one of the most viral brands of the decade, with pieces that turned into instant cultural moments.

Now it feels like the house may be slowly moving away from that hype-driven era and returning to a more reflective approach to fashion — revisiting its archives and focusing again on silhouette, construction and form. But compared to other houses, such as Gucci (by Demna now), which are currently pushing strong commercial imagery, because they need to sell and not experiment, Balenciaga risks blending into the broader landscape of shows.

Balenciaga FW26 - Vogue Runway Images

This could be a conscious shift: less viral hype and more fashion as research, architecture, archives and ideas. The challenge now will be finding a new balance between intellectual fashion and the cultural impact that once made Balenciaga so desirable.

In my humble opinion is that if we compare Balenciaga a little bit to Off-White prime eras it shows that a brand can’t live on hype forever. At some point the energy around it naturally slows down.

I think the shift after Demna is actually a positive one. It felt like he had reached a certain point where the language of the brand was starting to repeat itself.

So this change could be healthy for Balenciaga in the long term. It probably just needs time for the new direction to fully develop.

What did you think of Pierpaolo Piccioli’s first Balenciaga collection and this new chapter for the house? Do you see this quieter, more architectural direction as the right path for Balenciaga?

Join our conversation in the comments.

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What I love most about Jonathan Anderson is his ability to make you think and feel something that goes far beyond the clothes. At the latest Dior FW26, I could almost sense the fresh wind moving through the garments, accompanied by that feeling of freedom when the sun hits your face - the kind of sensation that only a walk in the park on a warm day can evoke.

For me, that was the feeling that structured this collection and may also be what’s next for luxury altogether. Before the runway, Jonathan appeared in a conversation with Bella Freud, the host of Fashion Neurosis, and the focus moved away from clothes altogether. Jonathan himself said that fashion today is not about status, it’s about psychology. Why do people dress the way they do? Where are they going? What are they doing with their lives? Those questions alone suggested a huge shift for luxury, drifting away from status and getting closer to real-life experience.

If luxury once revolved around access and exclusion, for Dior it now has to be more connected to time: the luxury of simply having time in a world that insists on making us keep rushing around.

Time to take a break without urgency, that kind of reflective breather that grounds you in life. To have a coffee while looking out the window on a Wednesday afternoon. Time that makes it possible to keep creating, to keep moving forward.

It also reminded me of that viral video of Jonathan Anderson. The most busy man in fashion right now was simply taking a break, looking at the lake. And maybe it was exactly that same break that inspired him with the concept of this collection.

@extravagantmag#jonathananderson #jwanderson #diorbeauty #diorfashion #parisfashionweek #parisfashion #pfw #fw #jonathan #fashion

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As we all know, Jonathan Anderson is not just a genius designer but also a very savvy marketer, as seen in what he did for Loewe’s growth as a brand. That take on luxury is a trend that market research had already been foreseeing and may also be a way of pulling luxury out of the crisis hole it has dug itself into, as seen in McKinsey’s State of Luxury report, which highlights how consumers are placing greater value on experiences and emotional resonance as the industry recalibrates to new expectations (McKinsey & Company, “The State of Luxury,” https://www.mckinsey.com/industries/retail/our-insights/state-of-luxury).

On TikTok, the trend of romanticizing daily life also makes this shift visible. A usual morning coffee becomes a sacred ritual, commuting on an old train becomes cinematic, warm showers become a space to reflect. The ordinary is reframed as extraordinary. People are already practicing this new definition of luxury in real time.

@johannasophie_should I do a part 2?✨ #fürdich #romanticizeyourlife #healthyrelationshipwithyourself

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The atmosphere of the Dior show felt aligned with that sensibility. Walking through the set almost felt like stepping into one of Claude Monet’s Water Lilies, the iconic series depicting floating plants in his garden at Giverny. Monet built his artistic practice around sustained contemplation of nature, returning to the same pond repeatedly to capture subtle shifts in light and reflection. His work was grounded in attention rather than spectacle.

Funny enough, exactly one week before the show, I stood wordless in front of The Thaw at Vétheuil (1880) at the Museo Nacional Thyssen-Bornemisza in Madrid. Monet painted the Seine during the winter freeze, capturing the fragile moment when the ice begins to dissolve and the water regains movement. His practice was built on sustained contemplation of nature and the patient observation of light as it shifts.

Standing there, I noticed how simply looking at the canvas generated a profound sense of calm. For a few minutes, the world narrowed to water, reflection, and muted winter tones. The privilege in that experience was exactly time. The ability to stand there without rushing, to let the painting unfold slowly in my mind. That moment felt like real luxury.

Dior’s collection echoed that logic. Fabrics moved freely around the body, and silhouettes were designed for walking, for inhabiting wind and daylight rather than enclosed rooms.

The styling reinforced this perspective by pairing boots with refined skirts and grounding elevated pieces in practicality. The looks felt wearable and intentional, offering a version of luxury that integrates craft into everyday experience.

Image Credits: Vogue Runway

For Jonathan Anderson new luxury is about having the time to take a simple walk in the park - of course, in amazing Dior fashion.

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The thing for me is that fashion is something I am absolutely passionate about. It makes me smile, it makes me cry, it makes me happy, it makes me think. But after watching Demna’s show today, what lingered was the bitter aftertaste of the return of the extreme and toxic thin-model aesthetic - and all the trauma that comes with it.

I grew up in the 90s. I was not observing the era from a theoretical distance. I was forming an identity inside it. The heroin chic aesthetic was not confined to runways. It seeped into magazines, music videos, casting calls, school corridors, teenage mirrors. And it negatively impacted me in more ways than I can tell you.

Kate Moss appearing on that runway was not a neutral casting decision. And honestly, it makes sense. She is one of the biggest 90s icons, a body that defined an era, a silhouette that became shorthand for aspiration. But it was also toxic for many of us regular girls who loved fashion and were miles away from that standard.

So today, at Demna’s show, watching hyper-thin models who looked as if they hadn’t eaten a proper meal in weeks walk in ultra low-rise silhouettes, fabric clinging to hip bones, waists compressed into near abstraction, activated something visceral in me. And not in a good way.

The timing intensified my reaction.

We are living through what many quietly call the ozempification of culture. Rapid weight-loss trends. Celebrity shrinkage celebrated in headlines. A narrowing of the acceptable silhouette re-entering the mainstream under the language of wellness and optimization.

This week I also watched the documentary revisiting America’s Next Top Model. The footage is difficult to watch. Contestants subjected to emotional manipulation, aesthetic policing, and relentless bodily scrutiny under the guise of opportunity. What aired as entertainment contributed to a broader culture of surveillance around women’s bodies. Those images did not remain on television. They shaped self-perception.

An entire generation - myself included - internalized the message that smallness equaled value. And I can absolutely tell you: it lingers in ways that are hard to articulate.

Fashion operates through repetition. Images circulate, settle, normalize. Once a silhouette dominates visual culture, it begins to define what feels current, desirable, relevant. So even if Demna’s intention was reflective or critical, runway images rarely travel with disclaimers. They enter feeds detached from context. They become references, that quietly become aspirations. And bringing that kind of aspiration back is deeply problematic.

Fashion has the right to revisit its archive. It thrives on memory. It thrives on quotation. Yet certain aesthetics carry residue. They do not return empty.

So what unsettled me was not only thinness itself. It was the convergence of timing, casting, and silhouette within a climate already tilting toward bodily contraction.

Fashion shapes aspiration whether it intends to or not. And that influence carries weight (no pun intended), and the people who make up the industry need to hold themselves accountable for it.

The show may have aimed at commentary, nostalgia, or provocation. What it reactivated, at least for me, was something far less aesthetic and far more embodied.

Curious to know how it landed for you.

If you truly want to understand a Prada show, you should never cling to the literal interpretation of things.

What I mean by that is this: getting stuck on “that moldy coat is ugly” or “an embroidered collar on a trench coat does not build a luxury product” misses the point.

Yes, that might be true for many other luxury brands. Prada is not just any luxury brand, and it might also be one of the very few brands allowed to redefine what luxury is or will become beyond the usual norms.

The Prada consumer is not the typical luxury consumer either. If you are willing to spend hundreds of thousands of euros on a piece that carries an “ugly chic” tag, you are probably not overly concerned with traditional luxury beauty standards. Think of “cleaner” luxury brands such as Hermès.

Miuccia Prada herself said in an interview right before the show that although she understands fashion brands are made to sell, she is very anti cliché. At the same time, she loves to use cliché codes to expose them.

Miuccia is a designer who looks ahead. She does not just create for the world we are living in. She has a clear vision of what the fashion market will become next. Proof of that is Prada’s resale value. Vintage Prada pieces rarely lose market value.

With that said, let’s talk about the FW26 Prada show

As the models were walking down the runway, all I could think about was this:

If a fashion show were to happen in an apocalyptic version of the world in which the fashion industry no longer exists, and we only had access to old pieces we were lucky enough to find or keep in our own archives, mixed with whatever is available in thrift bins at local shelters, combined with items that were not originally made to be clothing, like kitchen towels or any fabric left lying around ready for DIY survival, that would be it:

PRADA FW26 - VOGUE RUNWAY

And it is bold and genius to show that in a luxury runway context. Because guess what? That is absolutely the world we, or our descendants, depending on how climate change unfolds, may have to navigate.

If you are not living under a rock, you already know the numbers to backup that reality : according to the Intergovernmental Panel on Climate Change, global warming is on track to exceed 1.5°C within the next decade under current emission trends. Sea levels are accelerating. The World Bank projects that more than 200 million people could be displaced internally by 2050 due to climate-related factors. Meanwhile, the fashion industry alone accounts for an estimated 8 to 10 percent of global carbon emissions. Not exactly a neutral bystander in this unfolding scenario.

And yes, in that world, fashion will still exist. Even if it means nothing more than getting dressed before stepping outside. That is the point.

Fashion is an industry in the capitalist system we know and live in, but people will always need to dress, as they always did.

For me, that is what this show is about:

Even in a crumbling world, desire and creativity remain. That is human nature. That is what keeps us moving forward as a society.

And just so you do not think I am crazy or overanalyzing, here is a historical reference:

In the series Cristóbal, it is portrayed that during the war period, the Balenciaga maison had to use fabrics coming from military sources, including materials from uniforms and flags, due to the extreme scarcity of textiles at the time. Whether dramatized or not, the image reflects the reality of that historical moment: fabrics were scarce, global trade was disrupted, and luxury fashion had to adapt to what was materially available.

In the post–Second World War world, luxury fashion was nearly doomed. Fabrics were limited, supply chains were broken, and the economic crisis was severe. Fashion had to reinvent itself in response to material constraint.

Now imagine if, before that war collapse, a Cristóbal had presented a runway show built entirely on those restricted materials. People might have been outraged. But it would have simply anticipated reality.

That is what Miuccia Prada and Raf Simons were saying on that runway: this may be what the world will look like. You may be searching through bins or other people closets, collecting forgotten jackets from the 1990s, turning tablecloths into dresses and layer one thing on top of another. If that becomes our reality, then at least let us try to make it fashionable.

And what about the shoes? You might ask. They were funky, colorful, bold, covered in flowers and feathers. For me, the shoes were the point of contrast that reinforces my thesis: even in the dark, there is always light. There is always a creative spark that blooms like a flower and keeps us grounded and moving forward.

Exhibit A and B:

PRADA FW26 - VOGUE RUNWAY

As mentioned at the beginning of this text, nothing in a Prada show is obvious and everything is symbolic. Another detail that caught my attention was the fact that there were only 15 models, and each of them wore four looks, repeating only the shoes. That made me think that in a world of scarcity, there may simply be fewer people, and those who remain may have to do the same work multiple times.

Not to mention the set design. Fondazione Prada looked more like a house in ruins straight out of a The Last of Us set. Minus the fungus - we all have limits.

Controversial? I know. But that is the beauty of Prada. A brand that pushes us to think far beyond the clothes in every single show. And that´s why I love it so much.

Crazy to hear your thoughts in the comments!

Imagine if football were a spectacle restricted to industry insiders. If only players, coaches, journalists, and sports executives were allowed into the stadiums. If fans had to settle for one or two photos published after the game and a few poorly filmed videos on a cellphone.

Football probably wouldn’t be what it is today. And I have experience to say that.

When I was a child in Brazil, my family’s routine revolved around Corinthians’ schedule. Wednesday nights and Sunday afternoons were sacred: no one did anything except cheer for Timão. Lunches, dinners, family and work commitments were organized around the matches. No one in my family worked in sports, no one had contact with players, no one was part of the “industry.” And yet, everyone participated. Going to the stadium, watching the match on TV, debating controversial plays, suffering together. Passion for football never required credentials.

With fashion, my story was VERY different.

I discovered early on that I loved fashion, but I also understood that this love had to be lived from a distance. For those who weren’t insiders, there were only a few photos in magazines and editorials. Social media offered slightly more access to runway shows through posted images, but the emotional experience of seeing garments dancing with the wind as a model walks down the runway was reserved for a very specific group.

The first time I attended São Paulo Fashion Week was not as a fashion lover. It was because I was working at an agency that would be doing an activation at the event. That sparked something in me: it became clear that access to the fashion spectacle was conditioned by the function a person holds, not by the relationship they build with the subject itself.

Years later, now living in Spain, I had experiences that made me reflect deeply on the importance of experiencing fashion live.

In Madrid, I witnessed fashion leaving its closed, exclusive space and occupying the city through Madrid es Moda, an event supported by the city council that takes place in streets, historic houses, museums — in other words, public spaces. Whoever arrives, watches. There is no invitation, title, or credential required. One of my best experiences was at the show of María Lafuente, a very important designer in the Spanish market. Not only was I invited to sit in the front row, but I was also able to speak with María herself afterward. Something about being there in the garden of a historic mansion used as the setting, listening to the soundtrack that conveyed the concept, seeing the garments up close, their movement, the expression of enchantment on the faces of the many people in the audience, the joy of the models and the team when the show ended - it moved me deeply. It was indescribable.

Still in Madrid, Mercedes-Benz Fashion Week maintains a more restricted core, but it now coexists with parallel events, hybrid formats, and initiatives such as ticket sales to the general public, expanding the reach of the experience. It is not a total rupture, but it is a transitional movement that signals a greater transformation.

This movement is also gaining strength in Paris. One of the clearest examples is the viral Watch Parties organized by @Lyas.

During fashion weeks, he began gathering hundreds of people to collectively watch runway shows streamed live. People who do not work in the industry, but who follow, study, consume, and love fashion. The audience’s reaction, real-time commentary, and shared experience become part of the spectacle.

Over time, the brands themselves understood the potential of this format. Watch Parties began to have sponsorships, activations, and giveaways. In one of the most emblematic editions of men’s fashion week, 400 people were brought together to watch the Willy Chavarria show. The logic is much closer to broadcasting a game or even a concert than to the exclusive ritual of the runway.

Another important sign of this opening came with Jonathan Anderson, at the helm of Dior, presenting his haute couture show also in an exhibition format, with free public access in a Paris museum. By shifting the collection from the ephemeral time of the runway to the longer time of the museum, fashion acknowledges a public that wants to see up close, understand, and observe calmly. A public that exists beyond the front row and beyond the timeline.

In Brazil, São Paulo Fashion Week has begun selling tickets to the general public in recent editions. After decades operating almost exclusively by invitation, the main fashion week in Latin America recognizes that experience is also a product. Opening the doors does not diminish the event’s value. It expands its cultural reach and also becomes a new source of business.

Fashion has begun to understand something football has known for a long time: engagement is not born from absolute mystery, but from participation. And this generates profit (a lot of it!).

Football fans sustain an entire economy of experience. Clubs, championships, broadcasts, and platforms have created ecosystems where watching, commenting, reacting, and belonging are central assets.

From a business perspective, this is crucial. In a world marked by successive economic crises, as is the fashion industry itself, it became clear that experience generates value when product consumption slows down. Luxury had to rely less solely on product sales and more on building connection to move forward. And that connection is invariably built through real experiences that include real audiences.

Fashion took longer than football to reach this conclusion because it tried to cling, tooth and nail, to an idea of exclusivity that it had always cultivated and that once served it very well - both in terms of sales and ego maintenance. The issue is that in today’s market, exclusivity alone is no longer sufficient to generate conversion.

The logic is simple: a person may, for example, love Dior but not have the money to buy a piece from the Maison. But perhaps she can pay for a ticket to see the ReSee of a show. Or attend an exhibition built around the presented collection. These are other possible business avenues that open up.

And yes, even with the current movement toward opening its doors a little more, the sector still has a long way to go in this “coming down from its high heels.” Let’s not be naive either: no one came down from their high heels purely out of kindness to be more inclusive. Brands are doing this because they needed to reinvent themselves, especially to keep their margins in the black.

Perhaps the biggest lesson fashion can learn from football is this: you do not need (and should not need) to be a player to be part of the game.

A football match without fans completely loses its meaning and risks collapsing its business. Just like fashion makes no sense (and cannot sustain itself) without a public to love (or hate) its spectacle live.